New tome coming from Titan Books this month

Attention classic sci-fi freaks and superfans! StarTrek: The Art of JohnEaves, an extraordinary collection of never-before-seen STAR TREK artwork and concept designs will be published by Titan Books on November 27. And DELIRIUM has a couple of copies to giveaway!

Over the past few decades, JohnEaves has had a major impact on the look of the STAR TREK universe and played a pivotal role in shaping Gene Roddenberry’s vision. This new book represents the most extensive collection of designs and illustrations created by Eaves, covering his work on STAR TREK: DEEP SPACE NINE, ENTERPRISE and DISCOVER and no less than seven further STAR TREK films. With insightful commentary, as well as a foreword by award-winning art director and production designer Herman Zimmerman and Academy Award nominated model designer and special effects artist Greg Jein, this is a must-have for art-lovers and START TREK fans alike.

To win a copy of this massive art book, email chris@fullmoonfeatures.com with the words BEAM ME UP THAT BOOK! in the subject line. Winners will be chosen randomly.

A serious look at the unique 1993 Ted Raimi serial killer shocker

Any movie that contains a rare leading turn from perennial bit parter Ted Raimi, and that features Ricki Lake and controversial skin flick starlet Traci Lords among its supporting cast has to be special.

Has to be.

So believe me when I tell you that SKINNER (1993) is.

An awesome yet long forgotten footnote in the wave of serial killer chillers instigated by the success of THE SILENCE OF THE LAMBS (1991), SKINNER is the best kept secret of the subgenre’s boom period. Seductively out of step, it’s also something of an anomaly too. Less procedural-based a la SEVEN (1995) or COPYCAT (1995), SKINNER is more an oneiric dissection of a truly twisted mind; a sort of cross between the slice o’ life misery of HENRY: PORTRAIT OF A SERIAL KILLER (1986) and the candy-coloured surrealism of SUSPIRIA (1977), to which its lurid lighting owes an unmistakable debt. Powerful, vibrant, off-kilter, and beguiling, the film pulls you in the second Raimi’s eponymous psycho drifts into Los Angeles in its dream-tinged opening.

Legendary slasher psychodrama returns in deluxe restored edition

Frank Zito (a career performance by writer/executive producer Joe Spinell of ROCKY and THE GODFATHER fame) is a deeply disturbed man, haunted by the traumas of unspeakable childhood abuse. And when these horrific memories begin to scream inside his mind, Frank prowls the seedy streets of N ew York City to stalk and slaughter innocent young women. Now Frank has begun a relationship with a beautiful photographer (Caroline Munro of THE SPY WHO LOVED ME), yet his vile compulsions remain. These are the atrocities of a human monster. This is the story of a MANIAC.

A sample feature from the latest issue of DELIRIUM magazine

DELIRIUM #18 is now shipping to fans and subscribers and we’re giving you a taste of the Cronenberg-centric goods inside. Here’s a piece discussing a pair of David Cronenberg’s non-horror/sci-fi shockers, both starring DC’s modern-day muse Viggo Mortensen: A HISTORY OF VIOLENCE and EASTERN PROMISES.

Masters of horror team for acclaimed omnibus feature

Cranked Up Films, Good Deed Entertainment’s recently launched genre label, announced today from AFM that, in partnership with Shudder, AMC Network’s genre streaming platform, they have acquired North American distribution rights to Cinelou Films’ NIGHTMARE CINEMA. The film is a horror anthology comprised of five shorts and a wrap-around storyline from directors (and DELIRIUM friends) Mick Garris (THE SHINING), Joe Dante (THE HOWLING), David Slade (HANNIBAL), Ryuhei Kitamura (MIDNIGHT MEAT TRAIN) and Alejandro Brugues (JUAN OF THE DEAD). The film also features music by composer Richard Band (RE-ANIMATOR, FROM BEYOND).

Indie Horror Film is Inspired by Argento and Fulci

With the recent release of the remake of Dario Argento’s SUSPIRIA, it’s interesting to note the impending release of a similarly abstract indie horror drama, one that exploits the grueling world of dancing as its anchor in a world filled with supernatural shock. That film is BLOODY BALLET (aka FANTASMA), a Euro-styled skin-crawler directed by Brett Mullen (BOMBSHELL BLOODBATH, BELLADONNA) and starring TEXAS CHAINSAW MASSACRE PART 2 legend Caroline Williams , indie icon Debbie Rochon and THE CRAZIES star Brett Wagner.

Synopsis: When a beautiful ballerina dancer, Adriana Mena (Kendra Carelli), lands the lead role in the upcoming Nutcracker performance, she’s forced to face her demons as jealousy and tension begin to provoke the supernatural.

“I started this film before there was an announced remake of SUSPIRIA,” Mullen says of his elegant spook show.

New Book Collects Three Decades of Film Poster Art

Full Moon just announced the release of FULL MOON FEATURES: THE ART COLLECTION, an 84 page, 12×9 coffee table tome that collects a library of arresting promotional artwork culled from dozens of our legendary franchise horror films.

Inside this incredible book you’ll find lush and lively posters for films from the PUPPET MASTER, KILLJOY, DEMONIC TOYS, TRANCERS, THE GINGERDEAD MAN, EVIL BONG and SUBSPECIES franchises and many more besides. Here, collected for the first time, fans can have the original art they grew up with, couple with jaw-dropping international poster and one-sheet art used to promote these immortal pictures in various countries and territories around the world.

Slasher Sequel Might be a Fairy Tale in Disguise

By Nigel Parkin

Many things about David Gordon Green’s new ‘telling’ of HALLOWEEN made me want to cheer but perhaps the most powerful of these was the way it highlights and resolves the potent elements of fairy tale that have been breathing deeply in the shadows of this narrative from the very beginning.

No one can have missed the significance of Laurie’s new status as the Grandmother who lives in the woods. But it’s possible many people acknowledged this simply as a neat way of turning an ancient archetype onto her head and bringing her literally kicking and screaming into 2018. The truth is much deeper and darker than that. Let’s consider the version of the ‘Little Red Riding Hood’ story as collected by the Brothers Grimm and introduced to readers in English two hundred years ago. In that version a hunter enters the Grandmother’s house to find the wolf sleeping heavily, its belly hugely distended with the hungrily consumed bodies of Little Red Riding Hood and her grandmother. The hunter cuts open the wolf’s belly and draws out both figures, symbolically performing a cesarean section and allowing them to be ‘reborn’, in the girl’s case into a world of adult awareness…and fury. The girl’s immediate action is to collect heavy stones which the three then work together to stuff into the wolf’s belly before sewing it back up so that when it wakes and tries to leap at them afresh in instinctive response to new hunger it will tear itself apart.

Acclaimed hallucinatory horror drama is now on Blu-ray

There’s a primal, animal power that propels director Panos Cosmatos’s acclaimed experimental horror head-trip MANDY. A kind of danger pulsing beneath its arcane imagery, bubbling-forth from its moaning electronic music and arch, hissing dialogue. The film just feels alien. It feels evil. It courses with a sort of seething darkness and descends into such brain-swelling madness that you can almost smell it.

Since its early festival appearances, the picture has armed itself with a torrent of critical buzz and within weeks of its brief theatrical release has become an instant cult film. And it deserves its reputation and its fevered following. Certainly the presence of contemporary expressionist actor Nicolas Cage as its rage-riddled protagonist has provided the hook in which MANDY has mysteriously ingrained itself into the mainstream, with many scribes citing that Cosmatos (who previously gave us the bizarre and even harder to grasp BEYOND THE BLACK RAINBOW) had finally given Cage the psychedelic landscape in which his brand of bug-eyed, screaming method acting could thrive, or at least seem less glaringly misplaced. They’re half right. This is one of the most ideal cinematic landscapes for the performer to play in, but his work here is not merely camp, nor is- despite its over-the-edge nature – the film itself. MANDY is in fact a grand guignol phantasmagoria of the highest order, a living, breathing work of art and a bona fide nightmare blasted onto the parameters of the moving picture.

The legendary mutant sheep cult film is out now from AGFA and Something Weird Video

It’s not easy reviewing a film as singularly fucking insane as Fredric C. Hobbs’ jaw-dropping 1973 freak-out GODMONSTER OF INDIAN FLATS. So much has been written and spoken about the picture, mostly by people saddling it with the dreaded “so bad it’s good” handle and certainly, it would be easy to dismiss this Something Weird Video favorite as a slab of inept trash made by desert-touched madmen who lapped up too much LSD in the late ’60s. But GODMONSTER is anything but a bad film (more like a baaaaaaad film). Rather it’s an almost experimental, totally unpredictable and fever-pitched horror-western that seems beamed-in from another dimension and it simply refuses to behave by any conventional film structure standards. It leaks a kind of authentic, hard-wired weirdness that so many other phony baloney “cult” filmmakers have forever tried hard to capture, but that’s impossible to fabricate. And while it often feels like a forgotten Alejandro Jodorowsky movie, I’d much rather watch GODMONSTER than THE HOLY MOUNTAIN any day of the week.